Carmelo Bene was born in Campi Saletina, Italy in 1937. He began his career as a stage actor, and soon formed his own theater company; his adaptation of Camus’s Caligula put him in the avant-garde limelight as early as 1959. Bene directed and took on leading roles in his own performance pieces, from which he developed a theory of theater inspired by Antonin Artaud. Bene’s work opposes classical text-based theater, and his theories generally revolve around the necessity of recreating texts in performance with the actor-as-subject or actorial machine. He considered his work to be about a “constant becoming” in a perpetual state of incompletion. Bene believed that to merely repeat the written lines of famous playwrights was to murder theater. His art, therefore, is an art of repetition through extreme variation. By experimenting with classical dramatic texts, Bene became known as a notorious destroyer of texts. Outside the theater, he was a prolific writer, critic, radio performer, television actor, and filmmaker. In 1968, his controversial Nostra Signora dei Turchi (Our Lady of the Turks), which he adapted from his own 1965 novel of the same title, brought him acclaim as an avant-garde filmmaker. Bene interacted and collaborated with some of the most perceptive minds of the latter half of the twentieth century, such as Gilles Deleuze and Pier Paolo Pasolini, and found inspiration in contemporary thinkers such as Jacques Derrida, Roland Barthes, and Jacques Lacan, who largely influenced his critical and creative work. Many of his works, including his complete theatrical works, have been translated into French by Jean-Paul Manganaro. Bene died in Rome in 2002.

He was born in Palermo, Sicily, to a wealthy family, and studied architecture in Rome, before deciding to become a director. De Seta made ten short documentaries between 1954 and 1959, before directing his first feature-length film, Banditi a Orgosolo (Bandits of Orgosolo). His early documentaries focus on the everyday life of many of Sicily's poorest workers, and are notable for their lack of voice-over narration, quiet mood, and striking color. In 2005 the rediscovery of Vittorio De Seta's work was a highlight of Tribeca Film Festival and Full Frame Documentary Film Festival, where was presented Détour De Seta, a documentary on the Italian director.Banditi a Orgosolo (1961); Un uomo a metà (1966); L'invitata (1969); Diario di un maestro (1972, TV); In Calabria (1993); Lettere dal Sahara (2005); Documentaries; Vinni lu tempu de li pisci spata, 11', 1955; Isole di fuoco, 11', 1955; Sulfarara, 10', 1955; Pasqua in Sicilia, 11', 1955; Contadini del mare, 10', 1955; Parabola d'oro, 10', 1955; Pescherecci, 11', 1958; Pastori di Orgosolo, 11', 1958; Un giorno in Barbagia, 14', 1958; I dimenticati, 20', 1959Awards 1957. David di Donatello: Targa d'argento; 1961. Best First Work in the Venice Film Festival with Banditi a Orgosolo; 1962. Silver Ribbon of the Best Cinematography B/W at the Sindacato Nazionale Giornalisti Cinematografici Italiani (Italian National Syndicate of Film Journalists) with Banditi a Orgosolo.

Lu tempu di li pisci spata

Film HUNT shows the director’s sense for detail and visual beauty, which turn a day of swordfish hunting into a dramatic poem. A realistic depiction of the dull waiting in the Strait of Messina, and of the sudden struggle to reel in the fish. A portrait of man versus animal – ordinary and majestic at once.

Pasqua in Sicilia

FilmCELEBRATION captures the tremendous religiosity of human emotions during Holy Week. During the year’s most important holiday, people perform scenes from the Bible, priests and soldiers sound their drums, Jesus carries his cross, and the onlookers’ dark red masks symbolize the evil forces that led to the death of the Lord.

Pescherecci

Each De Seta film examines how the natural environment determines the behaviour of the people living in it. PESCHERECCI sheds light on the fisheries between Sicily and Africa. De Seta shows how the fishermen put out to sea in all weathers to scrape a living. If a storm breaks, the fishing boats seek refuge on the island of Lampedusa. The sober but effective use of the surrounding sounds drowns the fishermen’s voices and gives the film an extra dramatic dimension.

Un giorno in Barbagia

FilmWOMEN was made in Barbagia, a rocky region in the middle of Sardinia, where most men from local villages spend most of their time with their herds far from their families. The houses are left to the women, who take care of children, work in the fields, gather wood and bake bread, the herdsmen’s meal. Filmed in villages at the ends of steep, unpaved roads, the film reminds of the women’s lot, their patience and quiet devotion.